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| Music for Four, Volume 1, Part 1 - Flute/Oboe/Violin Flute, Oboe, Violin [Part] Last Resort Music Publishing
By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin. Quartets. Mu...(+)
By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin. Quartets. Music for Four. Baroque / Classical. Intermediate/Advanced. Part 1
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music for Three, Volume 1, Part 2 - Flute/Oboe/Violin Flute, Oboe, Violin [Part] Last Resort Music Publishing
(Mixed Trios). By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violi...(+)
(Mixed Trios). By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin. Trios. Music for Three. Classical / Baroque. Intermediate/Advanced. Part 2
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 20 Sacred and Spiritual Solos for Violin/Flute/Oboe Oboe, Piano (duet) [Reduction] - Intermediate/advanced Last Resort Music Publishing
Arranged by Daniel Kelley. For Violin/Flute/Oboe and Piano. Solos. Recital, Chur...(+)
Arranged by Daniel Kelley. For Violin/Flute/Oboe and Piano. Solos. Recital, Church. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.
$24.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music for Three, Volume 1, Part 1 - Flute/Oboe/Violin |oboe|violin|flute| [Part] Last Resort Music Publishing
Mixed Trios. By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin....(+)
Mixed Trios. By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin. Trios. Music for Three. Classical / Baroque. Level: Intermediate/Advanced. Part 1. Published by Last Resort Music Publishing.
(1)$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music for Four, Volume 1, Part 2 - Flute/Oboe/Violin Flute, Oboe, Violin [Part] Last Resort Music Publishing
By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin. Quartets. Mu...(+)
By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin. Quartets. Music for Four. Baroque / Classical. Intermediate/Advanced. Part 2
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Petite Symphonie in B flat major for Flute, 2 Oboes, 2 Clarinets, 2 Horns & 2 Bassoons (parts) |horn|flute|bassoon|clarinet|french horn|oboe| IMC (International Music Co.)
By Gounod, Charles (1818-1893). Woodwind ensembles. Published by International M...(+)
By Gounod, Charles (1818-1893). Woodwind ensembles. Published by International Music Co.
$49.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sacred Duets for All Oboe, Piano (duet) [Sheet music] Alfred Publishing
(From the Renaissance to the Romantic Periods). Arranged by William Ryden. For P...(+)
(From the Renaissance to the Romantic Periods). Arranged by William Ryden. For Piano/Conductor, Oboe. Mixed Instruments - Flexible Instrumentation. Sacred Instrumental Ensembles for All. 24 pages. Published by Alfred Publishing.
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Classical Favourites For Oboe Easy-intrmed Bk/cd Oboe [Sheet music + CD] - Easy Hal Leonard | | |
| Essential Elements Book 2 - Oboe Oboe Hal Leonard
Essential Elements Band Method. Size 9x12 inches. 32 pages. Published by Hal Leo...(+)
Essential Elements Band Method. Size 9x12 inches. 32 pages. Published by Hal Leonard.
$7.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Da Pacem Domine 3 Oboes - Easy FLEX Editions
Chamber Music, Trio Oboe Trio: 3 Oboes - Grade 2 SKU: FL.FX074391 Compose...(+)
Chamber Music, Trio Oboe Trio: 3 Oboes - Grade 2 SKU: FL.FX074391 Composed by Charles Francois Gounod. Arranged by Eric Vireton. Arrangement. Classical. Score and Set of Parts. FLEX Editions #FX074391. Published by FLEX Editions (FL.FX074391). Instruments:Oboe Trio: 3 Oboes; Difficuly Level: Grade 2; Duration: 1 mn 25 s; Musical Style: Classical; Category: Arrangement; Composer: Charles GOUNOD; Arranger: Eric VIRETON. $9.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Ave Maria Oboe - Easy FLEX Editions
1 Solo Oboe - Grade 2 SKU: FL.FX073273 Composed by Charles Francois Gouno...(+)
1 Solo Oboe - Grade 2 SKU: FL.FX073273 Composed by Charles Francois Gounod. Arranged by Eric Vireton. Arrangement, Republished Master Piece. Classical, Educational. Solo Part. FLEX Editions #FX073273. Published by FLEX Editions (FL.FX073273). Instruments: 1 Solo Oboe; Difficuly Level: Grade 2; Duration: 3 mn 45 s; Musical Style: Classical, Educational; Category: Arrangement, Republished Master Piece; Composer: Charles GOUNOD; Arranger: Eric VIRETON. $4.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Requiem in C major Soli, Mixted choir and accompaniment [Vocal Score] Carus Verlag
By Charles Francois Gounod (1818-1893). Edited by Barbara Grolmann. For SATB voc...(+)
By Charles Francois Gounod (1818-1893). Edited by Barbara Grolmann. For SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, harp, percussion, 2 violins, viola, cello, contrabass, organ. This edition: Paperbound. C-Dur (C major). Stuttgart Urtext editions. Requiem, End of the church year, Mourning, death. Vocal score. Language: Latin. Op. Posth.. 44 pages. Duration 35 min. Published by Carus Verlag
$21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem in C major Organ Carus Verlag
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 cl...(+)
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, harp, percussion, 2 violins, viola, cello, contrabass, organ SKU: CA.2731509 Composed by Charles Francois Gounod. Edited by Barbara Grossmann. This edition: urtext. 1x 27.315/21 flute 1, 1x 27.315/22 flute 2, 1x 27.315/23 oboe 1, 1x 27.315/24 oboe 2, 1x 27.315/25 clarinet 1, 1x 27.315/26 clarinet 2, 1x 27.315/27 bassoon 1, 2x 27.315/28 bassoon 2, 1x 27.315/31 horn 1, 1x 27.315/32 horn 2, 1x 27.315/33 horn 3, 1x 27.31. Stuttgart Urtext Edition: Urtext Editions; French Sacred Music. Requiem (Gounods Letztes Werk). Sacred vocal music, Requiem, End of the church year, Mourning, death. Set of Orchestra Parts. CG op. Posth. 104 pages. Duration 35 minutes. Carus Verlag #CV 27.315/09. Published by Carus Verlag (CA.2731509). ISBN 9790007201685. Key: C major. Language: Latin. Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson, Maurice. According to information handed down, while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil, Henri Busser, but the only complete version from the pen of Gounod is the version for large orchestra, which is published here for the first time in a critical edition. Gounod's Requiem, unlike many contemporary settings of the Mass of the Dead, is not characterized by darkness and terror. Rather, with all of its trepidation - expressed through a marked chromaticism - an atmosphere of hopeful expectation, of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major, which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod's death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press. Score and parts available separately - see item CA.2731500. $82.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Traits Difficiles Oboe Leduc, Alphonse
Oboe SKU: HL.48181095 For Oboe. Composed by Various. Leduc. Classi...(+)
Oboe SKU: HL.48181095 For Oboe. Composed by Various. Leduc. Classical. Softcover. Alphonse Leduc #AL20243. Published by Alphonse Leduc (HL.48181095). UPC: 888680860394. 10.5x13.25 inches. From Works by: Ravel, Delvincourt, Lalo, Gounod, Hüe, Massenet, Lazzari, Saint-Saëns, Verdi, Messager, G.Pierné, Debussy, G.Dupont, Berlioz, Schmitt and Rabaud. $28.60 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Petite Symphonie |clarinet|horn|oboe|french horn|flute|bassoon| [Set of Parts] Billaudot
By Charles Francois Gounod. For Flute, 2 Oboe, 2 Clarinet, 2 Bassoon, 2 French H...(+)
By Charles Francois Gounod. For Flute, 2 Oboe, 2 Clarinet, 2 Bassoon, 2 French Horn. Set of parts. Published by Billaudot.
$48.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Ave Maria Oboe, Piano (duet) - Easy FLEX Editions
Oboe, Piano - Grade 2 SKU: FL.FX071243 Composed by Charles Francois Gouno...(+)
Oboe, Piano - Grade 2 SKU: FL.FX071243 Composed by Charles Francois Gounod. Arranged by Eric Vireton. Classical, Chamber Music. Score and Set of Parts. FLEX Editions #FX071243. Published by FLEX Editions (FL.FX071243). $7.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Petite Symphonie |clarinet|horn|oboe|woodwind quintet|flute|bassoon| Emerson
By Charles Francois Gounod. Arranged by Jane Whalley. For Woodwind Quintet : Sco...(+)
By Charles Francois Gounod. Arranged by Jane Whalley. For Woodwind Quintet : Score & Parts. Published by Emerson Edition.
$70.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Requiem in C major Organ Carus Verlag
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 cl...(+)
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, harp, percussion, 2 violins, viola, cello, contrabass, organ SKU: CA.2731515 Composed by Charles Francois Gounod. Edited by Barbara Grossmann. This edition: urtext. Stuttgart Urtext Edition: Urtext Editions; French Sacred Music. Requiem (Gounods Letztes Werk). Sacred vocal music, Requiem, End of the church year, Mourning, death. Single Part, Double Bass. CG op. Posth. 8 pages. Duration 35 minutes. Carus Verlag #CV 27.315/15. Published by Carus Verlag (CA.2731515). ISBN 9790007201739. Key: C major. Language: Latin. Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson, Maurice. According to information handed down, while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil, Henri Busser, but the only complete version from the pen of Gounod is the version for large orchestra, which is published here for the first time in a critical edition. Gounod's Requiem, unlike many contemporary settings of the Mass of the Dead, is not characterized by darkness and terror. Rather, with all of its trepidation - expressed through a marked chromaticism - an atmosphere of hopeful expectation, of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major, which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod's death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press. Score and part available separately - see item CA.2731500. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem in C major Organ Carus Verlag
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 cl...(+)
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, harp, percussion, 2 violins, viola, cello, contrabass, organ SKU: CA.2731513 Composed by Charles Francois Gounod. Edited by Barbara Grossmann. This edition: urtext. Stuttgart Urtext Edition: Urtext Editions; French Sacred Music. Requiem (Gounods Letztes Werk). Sacred vocal music, Requiem, End of the church year, Mourning, death. Single Part, Viola. CG op. Posth. 12 pages. Duration 35 minutes. Carus Verlag #CV 27.315/13. Published by Carus Verlag (CA.2731513). ISBN 9790007201715. Key: C major. Language: Latin. Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson, Maurice. According to information handed down, while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil, Henri Busser, but the only complete version from the pen of Gounod is the version for large orchestra, which is published here for the first time in a critical edition. Gounod's Requiem, unlike many contemporary settings of the Mass of the Dead, is not characterized by darkness and terror. Rather, with all of its trepidation - expressed through a marked chromaticism - an atmosphere of hopeful expectation, of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major, which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod's death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press. Score and part available separately - see item CA.2731500. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem in C major Organ Carus Verlag
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 cl...(+)
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, harp, percussion, 2 violins, viola, cello, contrabass, organ SKU: CA.2731519 Composed by Charles Francois Gounod. Edited by Barbara Grossmann. This edition: urtext. Stuttgart Urtext Edition: Urtext Editions; French Sacred Music. German title: Requiem (Gounods Letztes Werk). Sacred vocal music, Requiem, End of the church year, Mourning, death. Set of Orchestra Parts. CG op. Posth. Duration 35 minutes. Carus Verlag #CV 27.315/19. Published by Carus Verlag (CA.2731519). ISBN 9790007137366. Key: C major. Language: Latin. Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson, Maurice. According to information handed down, while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil, Henri Busser, but the only complete version from the pen of Gounod is the version for large orchestra, which is published here for the first time in a critical edition. Gounod's Requiem, unlike many contemporary settings of the Mass of the Dead, is not characterized by darkness and terror. Rather, with all of its trepidation - expressed through a marked chromaticism - an atmosphere of hopeful expectation, of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major, which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod's death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press. Score and parts available separately - see item CA.2731500. $222.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem in C major Organ Carus Verlag
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 cl...(+)
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, harp, percussion, 2 violins, viola, cello, contrabass, organ SKU: CA.2731512 Composed by Charles Francois Gounod. Edited by Barbara Grossmann. This edition: urtext. Stuttgart Urtext Edition: Urtext Editions; French Sacred Music. Requiem (Gounods Letztes Werk). Sacred vocal music, Requiem, End of the church year, Mourning, death. Single Part, Violin 2. CG op. Posth. 12 pages. Duration 35 minutes. Carus Verlag #CV 27.315/12. Published by Carus Verlag (CA.2731512). ISBN 9790007201708. Key: C major. Language: Latin. Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson, Maurice. According to information handed down, while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil, Henri Busser, but the only complete version from the pen of Gounod is the version for large orchestra, which is published here for the first time in a critical edition. Gounod's Requiem, unlike many contemporary settings of the Mass of the Dead, is not characterized by darkness and terror. Rather, with all of its trepidation - expressed through a marked chromaticism - an atmosphere of hopeful expectation, of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major, which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod's death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press. Score and part available separately - see item CA.2731500. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem in C major Organ Carus Verlag
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 cl...(+)
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, harp, percussion, 2 violins, viola, cello, contrabass, organ SKU: CA.2731511 Composed by Charles Francois Gounod. Edited by Barbara Grossmann. This edition: urtext. Stuttgart Urtext Edition: Urtext Editions; French Sacred Music. Requiem (Gounods Letztes Werk). Sacred vocal music, Requiem, End of the church year, Mourning, death. Single Part, Violin. CG op. Posth. 12 pages. Duration 35 minutes. Carus Verlag #CV 27.315/11. Published by Carus Verlag (CA.2731511). ISBN 9790007201692. Key: C major. Language: Latin. Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson, Maurice. According to information handed down, while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil, Henri Busser, but the only complete version from the pen of Gounod is the version for large orchestra, which is published here for the first time in a critical edition. Gounod's Requiem, unlike many contemporary settings of the Mass of the Dead, is not characterized by darkness and terror. Rather, with all of its trepidation - expressed through a marked chromaticism - an atmosphere of hopeful expectation, of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major, which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod's death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press. Score and part available separately - see item CA.2731500. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem in C major Organ Carus Verlag
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 cl...(+)
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, harp, percussion, 2 violins, viola, cello, contrabass, organ SKU: CA.2731500 Composed by Charles Francois Gounod. Edited by Barbara Grossmann. This edition: urtext. Stuttgart Urtext Edition: Urtext Editions; French Sacred Music. German title: Requiem (Gounods Letztes Werk). Sacred vocal music, Requiem, End of the church year, Mourning, death. Full score. CG op. Posth. 136 pages. Duration 35 minutes. Carus Verlag #CV 27.315/00. Published by Carus Verlag (CA.2731500). ISBN 9790007095604. Key: C major. Language: Latin. Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson, Maurice. According to information handed down, while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil, Henri Busser, but the only complete version from the pen of Gounod is the version for large orchestra, which is published here for the first time in a critical edition. Gounod's Requiem, unlike many contemporary settings of the Mass of the Dead, is not characterized by darkness and terror. Rather, with all of its trepidation - expressed through a marked chromaticism - an atmosphere of hopeful expectation, of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major, which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod's death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press. $91.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem in C major Organ Carus Verlag
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 cl...(+)
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, harp, percussion, 2 violins, viola, cello, contrabass, organ SKU: CA.2731514 Composed by Charles Francois Gounod. Edited by Barbara Grossmann. This edition: urtext. Stuttgart Urtext Edition: Urtext Editions; French Sacred Music. Requiem (Gounods Letztes Werk). Sacred vocal music, Requiem, End of the church year, Mourning, death. Single Part, Cello. CG op. Posth. 8 pages. Duration 35 minutes. Carus Verlag #CV 27.315/14. Published by Carus Verlag (CA.2731514). ISBN 9790007201722. Key: C major. Language: Latin. Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson, Maurice. According to information handed down, while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil, Henri Busser, but the only complete version from the pen of Gounod is the version for large orchestra, which is published here for the first time in a critical edition. Gounod's Requiem, unlike many contemporary settings of the Mass of the Dead, is not characterized by darkness and terror. Rather, with all of its trepidation - expressed through a marked chromaticism - an atmosphere of hopeful expectation, of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major, which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod's death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press. Score and part available separately - see item CA.2731500. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem in C major Organ Carus Verlag
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 cl...(+)
Orchestra SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, harp, percussion, 2 violins, viola, cello, contrabass, organ SKU: CA.2731549 Composed by Charles Francois Gounod. Edited by Barbara Grossmann. This edition: urtext. Stuttgart Urtext Edition: Urtext Editions; French Sacred Music. Requiem (Gounods Letztes Werk). Sacred vocal music, Requiem, End of the church year, Mourning, death. Single Part, Organ. CG op. Posth. 4 pages. Duration 35 minutes. Carus Verlag #CV 27.315/49. Published by Carus Verlag (CA.2731549). ISBN 9790007201746. Key: C major. Language: Latin. Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson, Maurice. According to information handed down, while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil, Henri Busser, but the only complete version from the pen of Gounod is the version for large orchestra, which is published here for the first time in a critical edition. Gounod's Requiem, unlike many contemporary settings of the Mass of the Dead, is not characterized by darkness and terror. Rather, with all of its trepidation - expressed through a marked chromaticism - an atmosphere of hopeful expectation, of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major, which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod's death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press. Score and part available separately - see item CA.2731500. $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Messe solennelle de sainte Cecile Organ Carus Verlag
Orchestra Soli STB, SATB Choir, Picc, 2 Fl, 2 Ob, 2 Clt, 4 Fg, 4 Cor, 2 Pist, 2 ...(+)
Orchestra Soli STB, SATB Choir, Picc, 2 Fl, 2 Ob, 2 Clt, 4 Fg, 4 Cor, 2 Pist, 2 Tr, 3 Trb, Perc, Arpa, 2 Vl, Va, Vc, Cb, organ SKU: CA.2709509 Composed by Charles Francois Gounod. Edited by Frank Hondgen. 1x 27.095/21 piccolo, 1x 27.095/22 flute 1, 1x 27.095/23 flute 2, 1x 27.095/24 oboe 1, 1x 27.095/25 oboe 2, 1x 27.095/26 clarinet 1, 1x 27.095/27 clarinet 2, 2x 27.095/28 Bassoon 1 and 3, 2x 27.095/29 Bassoon 2 and 4, 1x 27.095/31 horn 1, 1x 27.095/32 hor. Messe Solennelle De Ste. Cecile. Sacred vocal music, Masses, Latin, Whole church year / Omni tempore. Set of Orchestra Parts. Composed 1855. CG 56. Duration 45 minutes. Carus Verlag #CV 27.095/09. Published by Carus Verlag (CA.2709509). ISBN 9790007200220. Language: Latin. Shining rays stream from the 'Messe de sainte Cecile'. At first people were dazzled, then bewitched, then overcome. This is how the composer Camille Saint-Saens described his impression of what was probably Charles Gounod's best-known setting of the mass. The work written in 1855 in honor of the patron saint of church music, soon became well-known beyond the borders of France and acquired a degree of popularity like almost no other sacred composition. In the Messe de sainte Cecile, Gounod combines sublime simplicity with operatic-dramatic elements and a colorful, effective orchestration. Critical edition in proven Carus quality. Score and parts available separately - see item CA.2709500. $150.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Messe solennelle (Saint Cecile) for Soloists, Choir and Orchestra Barenreiter
Flute-picc, 2 flutes, 2 oboes, 2 clarinets, 4 bassoon, 4 horn, 2Kor, 2 trumpets,...(+)
Flute-picc, 2 flutes, 2 oboes, 2 clarinets, 4 bassoon, 4 horn, 2Kor, 2 trumpets, 3 trombones, timpani, Be, Tr-Gr, harp (Piccolo flute, Flutes (2), Oboes (2), Clarinets (2), Bassoons (4), Horns (4), Cornets (2), Trumpets (2), Trombones (3), Timpani, Cymbals, Concert bass drum, Harp) SKU: BA.BA08966-65 Composed by Charles Francois Gounod. Edited by Hans Schellevis. This edition: urtext edition. Stapled. Barenreiter Urtext. Set of wind parts. 192 pages. Baerenreiter Verlag #BA08966_65. Published by Baerenreiter Verlag (BA.BA08966-65). ISBN 9790006563982. 32.5 x 25.5 cm inches. Sacred works occupy a large part of Charles Gounod's oeuvre. It was the Messe solennelle en l'honneur de Sainte Cecile that established his fame as a church composer. Its melodic invention and effective handling of the orchestra reveal a close proximity to opera. This Urtext edition is based not only on the original print of 1856 but also on copyists' manuscripts and autograph sources. Rounding off this well-researched Urtext edition are an informative Introduction and a detailed Critical Commentary. The edition is being published to celebrate the 200th anniversary of Gounod's birth. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$122.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ave Maria - Intermediate FLEX Editions
Chamber Music, Quartet Wind Quartet: 1 Oboe 1 F Horn 1 Hautbois 1 Bassoon - Grad...(+)
Chamber Music, Quartet Wind Quartet: 1 Oboe 1 F Horn 1 Hautbois 1 Bassoon - Grade 3 SKU: FL.FX073614 Composed by Charles Francois Gounod. Arranged by Eric Vireton. Arrangement. Classical. Score and Set of Parts. Duration 4 minutes, 10. FLEX Editions #FX073614. Published by FLEX Editions (FL.FX073614). Instruments:Wind Quartet: 1 Oboe 1 F Horn 1 Hautbois 1 Bassoon; Difficuly Level: Grade 3. $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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| Ave Maria (GOUNOD
CHARLES) Oboe, Piano (duet) [Sheet music] FLEX Editions
Oboe and Piano. Par GOUNOD CHARLES. / Répertoire / Hautbois et Piano
12.20 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Johann Sebastian Bach
Charles Gounod: Ave
Maria: Oboe: Instrumental
Album Oboe [Sheet music] Nova Music
Gounod's restful melody soars over Bach's famous prelude.Grade: 2-3
3.99 GBP - Sold by Musicroom UK | |
| Traits difficiles: Oboe:
Score Français Oboe [Sheet music] Leduc, Alphonse
From Works by: Ravel Delvincourt Lalo Gounod Hüe Massenet Lazzari Saint-...(+)
From Works by: Ravel Delvincourt Lalo Gounod Hüe Massenet Lazzari Saint-Saëns Verdi Messager G.Pierné Debussy G.Dupont Berlioz Schmitt and Rabaud
19.99 GBP - Sold by Musicroom UK | |
| Encore Pieces for
Woodwind Quintet Vol. 1
- Oboe: Woodwind
Ensemble: Part Houston Publishing
This wonderful collection of Woodwind Quintet Encores was originally arranged fo...(+)
This wonderful collection of Woodwind Quintet Encores was originally arranged for the Chicago Symphony Woodwind Quintet whose members included: Ralph Johnson Robert Mayer Jerome Stowall Philip Farkas and Wilbur Simpson. Several of these selections were recorded by the Chicago Symphony Woodwind Quintet album entitled 'ENCORE!' Audiophile AP17). Absolutely perfect for concert or contest. Includes: HUMERSQUE by Tchaikovsky · GIRL WITH THE FLAXEN HAIR by Debussy · CAPRICCIO by Haydn · DIARY OF A FLY by Bartok · SCARF DANCE by Chaminade · IN AUTUMN by MacDowell · SCHERZO IN E MINOR by Mendelssohn · POLKA by Shostakovich · NORWEGIAN DANCE by Grieg · GOPAK by Moussorgsky ·FUNERAL MARCH OF THE MARIONETTE by Gounod · TRITCH-TRATSCH POLKA by J. Strauss.
5.50 GBP - Sold by Musicroom UK | |
| Mark Hayes: Well-Tempered
Weddings: Piano: Score
and Parts Piano solo Shawnee Press
Tired of carrying multiple collections and assorted sheet music to every wedding...(+)
Tired of carrying multiple collections and assorted sheet music to every wedding you play? This comprehensive collection is a one-stop destination for pianists who play for weddings.
Featuring styles ranging from Classical to contemporary, this anthology is a must-have for today?s bride and groom, and contains service music for preludes, processionals, bridal marches, unity candle lightings, recessionals and postludes. Although each piano selection can be played as a solo, there are optional instrumental obbligatos for some pieces, featuring parts for Cello, Oboe, Trumpet, Flute and Violin. In addition, Well-Tempered Weddings contains several classic and contemporary vocal selections suitable for use before and during the wedding ceremony.
53.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Charles Gounod: Petite
Symphonie: Chamber
Ensemble: Score Français Billaudot
for flute 2 oboes 2 clarinets 2 bassoons and 2 horns
8.99 GBP - Sold by Musicroom UK | |
| Charles Gounod: Serenade:
Oboe: Instrumental Work Oboe Emerson Editions limited
A delightful little piece perfect for the younger player. Originally published ...(+)
A delightful little piece perfect for the younger player. Originally published by OUP this is a well-deserved return to print.
5.95 GBP - Sold by Musicroom UK | |
| Serenade Oboe, Piano (duet) Emerson 16.41 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
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